
Dua Lipa Wembley Stadium: Support act, timings and more
The artist, known for hits 'Dance The Night' and 'One Kiss', is coming to Wembley after headlining the Glastonbury Festival in 2024.
The Radical Optimism Tour promises stunning visuals, amazing vocals, spectacular dance routines, costumes and Dua Lipa performing all of her hits.
If you were able to get tickets to see Dua Lipa at Wembley, find out everything you need to know from the support acts, timings, the setlist and more.
When is Dua Lipa at Wembley Stadium?
Dua Lipa will be performing at the iconic Wembley Stadium for two nights, on Friday, June 20 and Saturday, June 21.
What time do doors open for Dua Lipa in London?
If you want to head down early to soak in the atmosphere before the BRIT Award winner takes to the stage, you can at 5pm when the doors at Wembley open.
What are the set times for Dua Lipa at Wembley?
The official set times for Dua Lipa have not yet been confirmed, but according to Wembley Park, the set times are expected to be as follows:
Support acts start at 6pm
Dua Lipa takes to the stage at 8.15pm
The show ends no later than 10.30pm
What is the set list for the Radical Optimism Tour?
The setlist for the tour based on previous shows, is as follows:
Training Season
One Kiss (Calvin Harris & Dua Lipa cover)
Illusion
End of an Era
Break My Heart
Whatcha Doing
Levitating
These Walls
Be the One
Love Again
Pretty Please
Hallucinate
New Rules
Electricity (Silk City & Dua Lipa cover)
Cold Heart (Elton John cover)
Anything for Love
Happy for You
Encore:
Physical
Dance the Night
Don't Start Now
Houdini
What is the seating plan for Wembley Stadium?
If you're curious about how good your view of the stage will be at Wembley Stadium, you can see on its website.
On the website, you'll be able to select your exact seat and see a digital view of the stage.
All seating is reserved. It is also important to note that people buying in level 5 should be aware they are high up and not suitable if you have a fear of heights.
Recommended Reading
Who are the support acts for Dua Lipa at Wembley?
Dua Lipa will be supported by two special acts, Dove Cameron and Alessi Rose.
Dove Cameron is best known for songs Boyfriend and Breakfast, along with appearing in the film series Descendants and the Disney show Liv and Maddie.
Singer Alessi Rose has hits including hate this part, say ur mine and Stella.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Telegraph
an hour ago
- Telegraph
Disney legend Alan Menken: The dwarves are the whole point of Snow White
'Are we going to talk about Disney and woke?' Alan Menken makes a horrified face and draws a finger across his neck in a throat-cutting mime. 'I'm going to pull the plug on this interview if there is any mention of Disney and politics!' He's joking. Having composed some of the most memorable scores in the history of animation, including nine for Disney – from The Little Mermaid to Beauty and the Beast – Menken is not about to let a culture-war kerfuffle throw him off balance. 'It's fine,' he says. 'Ask me anything.' We are meeting a few months ahead of the West End opening of Hercules, a new stage-musical version of Disney's 1997 animated riff on Greek mythology, set to Menken's original gospel-driven score (with lyrics by David Zippel). 'It's a very sophisticated score stylistically,' he says. 'It has a lightness to it and a rhythmic propulsion.' A native New Yorker, Menken doesn't do false modesty – and why should he? After all, he's one of only 27 people ever to have achieved the EGOT, winning Emmy, Grammy, Oscar and Tony awards. His last Academy Award came in 1996, for Pocahontas, though he's been nominated multiple times since. 'The Oscars have dried up because I've won eight of them now.' Yet it's another Disney production, the live-action remake of Snow White – not a film that Menken had anything to do with – which is dominating the headlines when we meet and that will, in the weeks that follow its woeful box-office performance, come to be seen as a nadir in the studio's muddled, frequently controversial project to update its much-loved back catalogue. At the time, Rachel Zegler, Snow White's leading lady, was drawing criticism from some quarters for comments she had made about Palestine, while the decision to have computer-generated dwarfs in an otherwise human cast had gone down badly with just about everyone. 'How you deal with all this stuff, it's as tricky as hell,' says Menken, who is in two minds about the whole idea of updating the classics, although he is sympathetic towards Zegler. 'She's just a kid. Yes, she said 'Free Palestine'. It's the kind of thing any of us might have said. We all want people to be free. Although, of course, there are also the nuances of history. 'But when it comes to the dwarfs…' He pauses, takes a breath. 'I'm sorry, but the dwarfs are what Snow White is all about!' There's been a bit of 'that stuff' with Hercules, he admits. The story, in which Hercules, a demigod raised among mortals, learns to embrace his destiny, has been updated for the stage show and, says Menken, now allows for its hero – depicted in the cartoon as a buff, blue-eyed redhead and played on stage by the dark-haired, Surrey-born actor Luke Brady – to be portrayed as 'a racial outsider'. Menken applauds the 'richness' this brings to the character, but laments the toning down of the cartoon's randy satyr, Philoctetes, who, he says with a hint of regret, will not be seen on stage 'running around lusting over nymphs'. 'At the time, you play with certain clichés because it's fun,' he says. 'But each new adaptation has to be sensitive to the passing of time and the way people will look at certain issues.' Menken is a hyperactive speaker; he talks in stops and starts, and is as physically expressive as any one of the animated characters to whom he has given such glorious musical voice over the years. He and his writing partner Howard Ashman are widely credited with reviving Disney's fortunes during the late 1980s after a prolonged period of creative and commercial decline for the studio in the decades that had followed the death of Walt Disney in 1966. The duo, who had already had a theatrical hit in 1982 with Little Shop of Horrors, struck gold three times in quick succession with The Little Mermaid (1989), Beauty and the Beast (1991) and Aladdin (1992), the lyrics for the last completed by Tim Rice following Ashman's death from Aids in 1991. Menken, who proudly calls himself 'the keeper of the flame', would go on to score Newsies, Pocahontas, The Hunchback of Notre Dame, Enchanted and Tangled. For him, the essence of Disney can be traced back to those classics of the 1930s, 1940s and 1950s that have enriched the childhoods of multiple generations, and to the spirit of which his own scores nod. 'Fantasia, Dumbo, the later Winnie the Pooh: they all had a depth and a beauty, a proper form, a moral,' he says. 'When the Aids crisis hit, or when 9/11 happened, I couldn't watch the news, I couldn't watch my favourite action adventure movies, it was just too fraught a time. But I would watch Disney. For me, those films were the only safe space in the world. I grew up on those films, but, by the 1980s, it had all gone. So Howard and I came along and rebooted it.' Now, the company to which he has dedicated his career once again finds itself at a turning point, caught between trying to appease the more progressive yet censorious Left and the diehard traditionalist Right. Although Menken is in favour of a live-action remake of The Hunchback of Notre Dame (initially announced in 2019), he accepts that, given the story's more 'problematic' aspects, it is unlikely to go ahead. 'People will go, 'Let's leave out the fact that Frollo [Quasimodo's clergyman nemesis] is obsessed with the gipsy Esmeralda.' They'll say, 'We can't have Quasimodo as a hunchback.' Well, f--- that. I'd love to make a Hunchback movie [that follows] what Victor Hugo wrote. But it can't be done.' However, he says, swerving onto a more diplomatic course, 'I don't think Disney is having an identity crisis. Obviously, Disney has been very open for gay people and diversity and woke. And then woke became a dirty word. Sometimes, when you press against limits, things push back. But I know Bob,' he says, referring to the Disney CEO, Bob Iger. 'I think he's pretty savvy about the business model.' Menken grew up in a Jewish household in New York City during the dawn of rock 'n' roll in the 1950s and, throughout his early years, set his heart on becoming a pop star. 'I didn't want to go to school, ever,' he says. 'I was very ADHD. My parents were appalled.' When he told them he wanted to be a songwriter, in the mould of his hero Bob Dylan, they insisted that he practise the piano every single day. 'They imprinted on me the need to dig in and work. They would say, 'You want to be a shoe salesman instead?' I find it very depressing to buy shoes now.' After graduating from college in 1972, he attended the BMI Lehman Engel Musical Theatre Workshop – a well-respected incubator for future Broadway talent – partly to placate his parents, who were musical-theatre fanatics. That same year, he met and fell in love with Janis Roswick, a ballet dancer; half a century later, they remain married and have two daughters. Suddenly, the itinerant lifestyle of a touring pop star no longer looked quite so appealing, so Menken dedicated himself instead to composition. It's often said of his Disney music that it lacks an identifying style of his own, unlike, say, the higher-brow Stephen Sondheim, whose musical imprimatur is instantly recognisable. 'You can only pull on the stuff that's in your gut,' Menken says. 'And when it comes to audiences, the great thing about Disney is that it's a leveller.' All the same, he is keen to point out that his scores do have musical and emotional specificity, be it the 'apocalyptic' Phil Spector girl-group sound behind Little Shop of Horrors or the ragtime influence on Newsies. 'I'm not trying to be egotistical, but that was very much my and Howard's approach: we established throughout our scores a specificity of place,' he says. By comparison, 'a lot of the new Disney scores are generic…'. He stops, as if reconsidering what he is about to say. 'I think they have moved into a different place, where a Lin-Manuel score is very much Lin-Manuel,' he continues, referring to Lin-Manuel Miranda, the creator of Hamilton, who wrote the Oscar-nominated score for Disney's 2021 film Encanto. 'That's not what Howard and I did, but, hey, things evolve.' At 75, Menken still has multiple projects on the go – including both a live-action remake and a stage adaptation of Tangled, the 2010 Disney animation loosely based on the story of Rapunzel – and can't imagine himself retiring any time soon. 'Well, I can if I think what I'm producing isn't good enough,' he says, 'but I haven't reached that point yet.'


The Sun
an hour ago
- The Sun
How Dua Lipa's lookalike sister Rina is desperate to be famous actress & how rivalry with star spurs her on
IT can't be easy growing up in the shadow of one of the hottest and most famous singers in the world. So it's little wonder that there's a touch of sibling rivalry between Dua Lipa and her younger sister, aspiring actress Rina. 13 13 13 A source close to the family says: 'Not many people know what it's like to have a pop superstar as an older sister. 'It has without a doubt got its perks but constantly being in her shadow would take its toll on anyone. But it's made her more determined than ever to be her own person.' Rina was just 16 when her sister hit the big time, and since then Dua has continued her meteoric rise, landing Vogue covers and Grammy awards aplenty, not to mention an equally gorgeous fiance in Brit actor Callum Turner. Behind the scenes though, Rina has been working just as hard - and is determined to make a name for herself, independent of Dua. As well as gracing the pages of Vogue, she's already got her own fan pages, a whopping 1 million Insta followers, and just last week was spotted rubbing shoulders with Sydney Sweeney at Miu Miu's London party. Growing up in London, then their parents' native Kosovo, which they moved to when she was six, Rina has said she "worshipped" Dua. The move meant the sisters and their brother Gjin formed an incredibly tight bond as they navigated life in another country. When Dua was 15, however, she begged her family to let her move back to the UK to embark on a singing career. It wasn't a decision they took lightly and while Dua was chasing her dreams, Rina's formative teenage years were spent mostly without her big sister around. 'She was young, but she was mature, she was ready. My parents didn't let her go easily — it was all done in a very controlled way," Rina has said of that time. 'She had to get back at certain times and she lived with a family friend. But it was hard. I missed her. She worked very, very hard. I really looked up to her for that and I do to this day.' Inside glam life of Dua Lipa's sister Rina as 'Gen Z It Girl' models with Game of Thrones star and parties with Hadids By the time the family had reunited in the UK, Dua was well on her way to fame - and Rina had her own plan. With jet black hair, an enviable figure, and distinctive, different-coloured eyes (one brown, and one blue), she signed a modelling contract while still in school and, like many Gen Zs, fell into influencing. 13 13 An insider said: 'Rina has of course always really admired her sister but has had times felt that pressure of having such a successful sibling. 'She has also made it clear she wants to do things off her own back - she is grateful for the opportunities that have come her way because of Dua but she believes she would have made it on her own.' Now, Rina - who attended the prestigious Sylvia Young Theatre School, which has made the likes of Billie Piper and Nicholas Hoult, on Saturdays - has her heart set on becoming a successful actress. When she was 18, she vowed: 'I think Rina will be everywhere. My plan is to go forward with my acting and do that and really focus on that. 'I feel like a big budget film is the dream and going to your premiere in Leicester Square, but also I think a series would be really fun.' 13 13 Fast forward to this year, and Rina has appeared in short films The End of Love and Midpoint, and is set to make her feature film debut in Expectations - a contemporary adaptation of Charles Dickens' Great Expectations. 'Performing, being on stage, being in front of the camera — I knew that was what I wanted to do. I like to talk a lot," she has said. It's yet to be the glitzy career she had hoped for onscreen, but her popularity online is ever growing, though still falls well short of Dua's 87 million followers. Aspiring to the dizzy heights of fame enjoyed by Dua, Rina gushed: 'Dua's my biggest teacher and I'm so in awe of her work ethic.' Whether she manages to reach similar heights, though, is yet to be seen. 13


Powys County Times
3 hours ago
- Powys County Times
Dua Lipa surprises fans with Jamiroquai frontman during London show
Pop star Dua Lipa returned to London with her Radical Optimism tour, kicking off the first night at Wembley Stadium with a surprise appearance from Jamiroquai lead singer Jay Kay. Amidst a flurry of dance routines, costume changes and confetti canons, the singer made her way through her latest album, Radical Optimism, on Friday night before bringing out the 90s funk band frontman. Without missing her biggest hits, the British-Albanian songstress performed the likes of New Rules, Be The One and Barbie's Dance The Night to more than 70,000 people. Transforming the stadium into her own dance floor, the pop star kicked off her concert with Training Season before pausing to say she was 'blown away,' adding that it was 'surreal' to be performing at Wembley. Appearing a little emotional, she said: 'This is so surreal and so crazy. 'It means the absolute world to me that you are here tonight. 'It feels really really special to be here tonight. 'It is 10 years since our first ever London show to about 350 people and I just dreamt of a night like this where I get to be in front of 70,000 people.' Later, she left the stage to take photographs with fans and asked if they were having a good night, but most were too excited to form full sentences. After taking photos with the front row fans, Lipa returned to the stage to perform These Walls before introducing the song that 'started everything'. She said: 'I want to take it back to the beginning a little bit. This song really kind of changed my life. 'This is the song that got me signed and it's the song that started everything and I feel like with weather like this, there is only one song that I could do. This is Hotter Than Hell.' The singer again expressed how grateful she was to be performing at Wembley, before introducing someone who really 'inspired' her. She said: 'Someone who has really been a trailblazer for British music and has really paved the way, I feel so lucky to share the stage with the one and only Jamiroquai!' The frontman of the 90s funk band, Kay, emerged onto the stage, joining Lipa to sing the group's hit song Virtual Insanity. Towards the end of the concert, Lipa returned to the hit songs that prompted her rise to fame, including 2016's Be The One, and her 2017 break-up anthem New Rules. Lipa has several Brit Awards to her name, along with three Grammys and was one of the headline acts at Glastonbury Festival last year. She was recently named the most played artist across radio, TV and public places in the UK for a second time by music licensing company Phonographic Performance Limited (PPL) and is the youngest person to feature on this year's Sunday Times 40 Under 40 Rich List, making her one of the wealthiest musicians in the UK.